Major view
D major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C# (leading tone, pulls home)
- 4 = G (the note that leans on the 3rd)
Emre Nalbantoğlu - Acayip gidesim vardı - Chord
Key D major – B minor Chords E, Bm, G, D, A Easy key G (capo 7)
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Key: D | Bm
Capo: 0
Bm E G E G E G E D A E D A E Bm E Yanağımı yüzüne yapıştırıp Bm E Onu kendime karıştırıp Bm E Derdimi tezgaha saçıştırıp Bm E Milleti bunlara alıştırıp D A Alayını, yalanını, kuponunu, kitabını G E Yasaları, tasaları, sattım Bm E Geride kalanlar olmasa Bm E Kimseler kafaya takmasa Bm E Benimde aklım kalmasa Bm E Peşimden atıp tutmasa D A Arkama, önüme, hiç bakmadan yönüme G E Acayip gidesim, vardı Bm E Benim bu öfkem dinmeden Bm E Sırtımdan bu yük inmeden Bm E Söylemiştim de dilim dönmeden Bm E Akıl şu eşekten inmeden D A Yorgan için pireleri, geceleri, gemileri G E Sigaramı, devreleri, yaktım Bm E Dinledim halini anladım Bm E Bağlamam oralara ağladı Bm E Kimse de hakkını vermedi Bm E O yine de hepsini eğledi D A Söyledim, dinlemedin, sarıldım, anlamadın G E Üzüldüm ağlamadım, sustum
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Harmony analysis
Emre Nalbantoğlu – Acayip gidesim vardı: key and chord analysis
The song opens on Bm and ends on E. Its chords belong to both D major and Bm, so every chord below is read both ways.
Minor view
B minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = G (the minor's melancholy)
- b7 = A (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the B minor side because it opens on Bm and Bm is heard 17 times against 6 for D. That is an interpretation, not a rule — the same chords are just as valid seen from D major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to D or to Bm; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D | Tonic — home | D · F# · A | 6× |
| ii | Em | Supertonic — prepares the dominant | E · G · B | — |
| V/V | E | Secondary dominant V/V — leads to Asecondary dominant | E · G# · B | 26× |
| iii | F#m | Mediant — a tonic-family shade | F# · A · C# | — |
| V/vi | F# | Secondary dominant V/vi — leads to Bmsecondary dominant | F# · A# · C# | — |
| IV | G | Subdominant — moves away from home | G · B · D | 7× |
| V | A | Dominant — strongest pull home | A · C# · E | 6× |
| vi | Bm | Relative minor — the melancholy side | B · D · F# | 17× |
| vii° | C#dim | Leading-tone chord — tension | C# · E · G | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bm | Tonic — home | B · D · F# | 17× |
| ii° | C#dim | Supertonic — prepares the dominant | C# · E · G | — |
| III | D | Relative major — the bright side | D · F# · A | 6× |
| iv | Em | Subdominant — moves away from home | E · G · B | — |
| IV | E | Major IV — Dorian / melodic-minor colourmodal colour | E · G# · B | 26× |
| v | F#m | Minor dominant — soft pull | F# · A · C# | — |
| V | F# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F# · A# · C# | — |
| VI | G | Submediant — warm colour | G · B · D | 7× |
| VII | A | Subtonic — steps back to the tonic | A · C# · E | 6× |
Analysis
The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 62 times in total; 4 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- D major pentatonic and B minor pentatonic are the same five notes (D – E – F# – A – B): start from D for a brighter phrase, from B for a bluesier one.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With D major shapes
- No capo — open D shapes
- Capo 2 + C shapes
- Capo 5 + A shapes
With B minor shapes
- Capo 2 + Am shapes
- Capo 7 + Em shapes
Easiest keys on guitar
- 5 semitones up · capo 7 keeps the original pitch
- 2 semitones down · capo 2 keeps the original pitch
The song's harmonic story
Starting on Bm, the song gives away its key from the very first bar. The chords that keep coming back are E, Bm, G, D; read them as V/V–vi–IV–I in D or IV–i–VI–III in Bm. E adds a moment of surprise: secondary dominant V/V — leads to A. It closes on E, letting the D side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Emre Nalbantoğlu - Acayip gidesim vardı Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Emre NalbantoğluMusic: Emre Nalbantoğlu
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